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“Painters of the East End” Explored How the Beaches of Long Island Influenced Abstract Expressionism

Art in America

September 11, 2019

Although Long Island has been a weekend utopia for New York elites since the late nineteenth century, beach culture boomed on the Island’s South Fork during the postwar period. Lured by open space and dramatic coastal scenery, artists affiliated with the New York School began congregating there in the 1940s and ’50s, forming a close-knit community. These urban artists flocked to the tip of the island alongside urban professionals, transforming what had been farmland into a seaside land of leisure. “Painters of the East End” brought together a selection of paintings and drawings by eleven artists, all of them women, who spent time living and working on Long Island, highlighting the resonances between the landscape and their art.

The New Empire Builders: How Pace and Other Art Dealers Are Reinventing What a Gallery Space Should Do

artnet news

September 10, 2019

The goal for these galleries appears to be to maximize the space available not only to artists, but also to collectors. Paul Kasmin’s latest space on 28th Street includes three private viewing rooms totaling 3,400 square feet, while a mere 460 square feet is set aside for public exhibitions and offices. Viewing rooms “allow us to spend uninterrupted time with collectors and curators in order to discuss a single work in detail,” says Nick Olney, a Kasmin director.

Mega-galleries pick up the pace in the race for space

The Art Newspaper

September 10, 2019

Meanwhile, Kasmin will open another space this fall at 514 West 28th Street, with 3,400 sq. ft of private viewing rooms and office space and 460 sq. ft of public exhibition space. This expansion connects it to its 3,000 sq. ft flagship gallery (and 5,000 sq. ft rooftop sculpture garden) at 509 West 27th Street, which opened last September, "completing our vision for the new, purpose-built space,” its director, Nick Olney, says.

Kasmin Represents Ali Banisadr

Artforum

September 10, 2019

Born in Iran in 1976, Banisadr is known for his densely populated paintings which draw from his childhood experiences of the Iran-Iraq war. His work is currently featured in the exhibition “Bosch & Banisadr, Ali Banisadr: We Work in Shadows at Gemäldegalerie,” which recently opened at the Academy of Fine Arts in Vienna, and has been included in exhibitions ranging from “Love Me/Love Me Not, Contemporary Art from Azerbaijan and its Neighbors” (2013) at the Heydar Aliyev Center in Baku, Azerbaijan, to the Fifty-Fifth Venice Biennale. The New York–based artist will have his first solo exhibition at Kasmin in early 2021.

Kasmin Now Represents Ali Banisadr

ARTnews

September 4, 2019

Painter Ali Banisadr has left Sperone Westwater to join Kasmin, with a solo exhibition scheduled for the enterprise in New York’s Chelsea gallery district in the winter of 2021. Banisadr’s gestural and frenetic paintings are often abstractions of experiences during his childhood in Tehran while witnessing the Iran-Iraq war. His work has been seen at the Museum of Contemporary Art, Los Angeles, the Albright-Knox Art Gallery, Centre Pompidou, and the Los Angeles County Museum of Art, among others.

Alex Katz brings light and movement to Midtown

Time Out

September 5, 2019

The consummate New York artist, Alex Katz, 92, was born in Brooklyn, grew up in Queens and studied art at The Cooper Union following World War II. He began his artistic career during the heyday of Abstract Expressionism, a style he rebelled against with a form of realism that was informed by movies and advertising. But it wouldn’t be accurate to describe his work as Pop Art; rather it comprises smoothly stylized portraits (particularly of his wife Ada, Katz’s constant muse and frequent subject over 70 years) and landscapes (based, more often than not, on the area around his summer home in Maine). Katz’s work is regularly exhibited in all of the city’s major museums, and more recently, on the walls of the 57th Street subway station. And for the next few months, the Park Avenue malls between 52nd and 60th street will host a new outdoor installation by Katz organized by Kasmin in collaboration with Lococo Fine Art Publishers.

James Nares

Artforum

September 1, 2019

James Nares’s eight ingenious and materially intriguing paintings at Kasmin Gallery—made from twenty-two-karat gold leaf applied to a ground of black Evolon, a microfilament textile—created a richly existential space with the most elemental of contrasts: light and dark, symbolizing life and death. The surfaces of his abstractions—stippled or covered with striations that vaguely resemble the hides of cheetahs, tigers, and other exotic cats—are resolutely flat, in the grand modernist tradition. Yet they are profoundly expressive, rich with personal and social meaning, as evidenced by the pictures’ titles, such as Greenwich I, 2018; Lafayette VI and Lafayette VII, both 2019; Laight I, 2018; and Wooster, 2019—which cite streets in Lower Manhattan, where the artist has lived for decades. 

— Donald Kuspit
 

Lee Krasner, Hiding in Plain Sight

The New York Times

August 19, 2019

A tangle of drips in all directions; a hazy rectangle in a field of dark pigment; a rigid zip down an empty canvas … To be an Abstract Expressionist in New York’s buoyant first postwar years, it helped to have a signature look. Yet Lee Krasner was suspicious of paintings where telltale marks were like alternative autographs — even when the autograph was her own husband’s.

She was proud not to have a single style. You had to figure out each painting on its own, she said, or you end up with something “rigid rather than being alive.”

Tough, diligent, and deadly serious about the history of art, Krasner might have been the most intelligent of the painters who convinced the world in the late 1940s that New York had displaced Paris as the epicenter of modern art. That intelligence expressed itself through an art that ricocheted across styles and media, from tightly massed collages to huge abstractions of Matissean richness.

At the Barbican

London Review of Books

August 15, 2019

The Lee Krasner retrospective at the Barbican (until 1 September) is not to be missed. It is rare these days to be given a chance to assess the seriousness and beauty of the best Abstract Expressionist painting. The style is unfashionable: it is thought to be overwrought, supersized, ‘American’ in a 1950s way (‘great again’) and heavy with male cigarette smoke. Krasner had her opinions about all these charges, which are far from empty: the small room containing four paintings she did in 1956 – Prophecy, Birth, Embrace, Three in Two – is about as frightening a pictorial space as can be imagined. Its vision of glamour and nudity and sex is ghastly, which doesn’t mean the paintings lack powder-puff appeal. Pin-up grins have never been closer to screams of pain.

Go Inside Artist Bernar Venet’s Stunning Estate in the South of France

Galerie

August 9, 2019

What Richard Serra is to steel slabs, Bernar Venet is to steel bars. Venet may be less famous than his counterpart, but he is a giant of modern sculpture in his own right and, like Serra, a master at bending massive pieces of weathered steel to his will.

Since the 1960s, Venet has been producing endless variations on his complex tangles, bundles, and piles of ruddy steel. Ranging from rigorously geometric to almost spontaneous in feeling, all of his pieces are products of a meticulous conceptual approach. One might imagine the 78-year-old Venet, the holder of a knighthood in France’s National Order of the Legion of Honour, as a grand old figure sketching in a leather-bound notebook at his Provençal estate as the wind whistles through the cypresses. But non.

Painters of the East End

The Brooklyn Rail

August 2, 2019

Many of the European avant-garde artists who arrived in New York during World War II found themselves reaching out for a less expensive kind of living, and discovered larger studios in a rural landscape and waterscape on Long Island’s South Fork. In the mid-twentieth century, a group of women painters developed there a collaborative community sharing a culture mingling bohemian instincts and creative inspiration. This kind of art colony thrived on their interwoven affinities, gossip, affection, envies, and dislikes. Gathered there were Lee Krasner, Elaine de Kooning, whose painting on board of 1949 has the side-sway of Lyonel Feininger’s oddly European buildings, and also Jane Freilicher with her gorgeous landscapes, as well as Joan Mitchell, whose paintings instantly stand out anywhere, as happens with the most striking figures of various groups and periods, reminding me of how, for instance, Charles Olson’s being and writing stood out in Black Mountain College times.

James Nares Suspends Himself Over The Canvas To Create Large-Scale, Single-Swipe Paintings

designboom

July 31, 2019

Over the course of a five-decade career, british artist James Nares has worked across film, music, painting, photography, and performance to explore physicality, motion, and the unfolding of time. In the 1980s, Nares, who has been living and working in New York since 1974, began to create his monumental brushstroke paintings, made using brushes of his own manufacture, recording a gestural passage of time and motion across the canvas. His work is included in many public and private collections including the the Metropolitan Museum of Art, the Museum of Modern Art (MoMA), and the Whitney Museum of Art, while at the moment, NARES:MOVES, a career-spanning retrospective is on at the Milwaukee Art Museum.

Before the Galleries Close Up Shop This August, Here Are 5 Summer Group Shows You Won’t Want to Miss

artnet news

July 29, 2019

Ninth Street Women fans, this is the show for you!  A small but engaging exhibition, “Painters of the East End” brings into dialogue the works of a group of mid-century Modernist painters who left New York City for the expansive studios, untamed nature, and bohemian lifestyles made possible in South Fork of Long Island. Here, artists who have been obscured by the passage of time, like the great Abstract Expressionists Mary Abbott and Perle Fine, are presented alongside alongside Helen Frankenthaler, Elaine de Kooning, Lee Krasner, and Joan Mitchell, giving a refreshing sense of cohesion, depth, and detail to the era.

Critic's Notebook: Painters of the East End

The New Criterion

July 23, 2019

What’s immediately clear upon entry into “Painters of the East End,” a summery exhibition at Kasmin Gallery’s 297 Tenth Avenue space, is that, unlike previous generations of Long Island painters, these midcentury artists shared no discernably unified style, ranging from various modes of non-objective painting to sensitively observed modernist realism. Rather, the painters included here (who happen all to be women—among them are rock-stars like Helen Frankenthaler, Jane Freilicher, Elaine de Kooning, Krasner, and Joan Mitchell) share what we may call a distinct sensibility, one surely influenced, if intangibly so, by the open skies and fresh air of the East End. The show is a blast of cool oxygen for these hot and heavy city days.

James Nares, an Artist Known for Mapping New York’s Changing Landscape, Is Now Navigating a Deeply Personal Transition of His Own

artnet

July 15, 2019

The late, great writer Glenn O’Brien once said that James Nares might sound a bit British, but he’s a New Yorker at heart. Nares does speak with a latent, languid London accent, but there are few artists whose work has embodied the thrum of New York like his.

You can make the argument, as Nares has, that the defining characteristic of the city is its streets. Much of the artist’s work has located itself there, specifically the street surface, the textural layer of the concrete and asphalt and all the visual information caked into it. Since his arrival to New York in 1974, the street has been Nares’s great protagonist and, in the intervening years, he has spent a lot of time looking down.

12 Incredible Group Shows to See in New York This Summer

Galerie

July 10, 2019

Removed from the crowded city, the Hamptons has been an inspiration for artists since the mid–twentieth century. In this exhibition, Kasmin gathers the work of 11 iconic female painters from that community who were drawn to the open fields and rolling seas of the South Fork of Long Island. On display will be work by well-known talents such as Mary Abbott, Helen Frankenthaler, Lee Krasner, and Joan Mitchell, as well as those deserving of it, such as Betty Parsons, who was also known as a collector and dealer of Abstract Expressionism.

Kasmin Releases Unseen Stuart Davis Material

artnet

July 11, 2019

Kasmin gallery is publishing a scholarly catalogue drawing on the archive of jazz-influenced American painter Stuart Davis, whose estate it has represented since 2018. Developed in collaboration with the artist’s son, Earl Davis, Stuart Davis: Self Portrait includes personal correspondence, family photographs, sketchbooks, and calendar pages. It will be published in fall 2020.

Artist David Wiseman Debuts a Dreamlike Wallpaper Collection

Architectural Digest

July 10, 2019

After a solo show at Kasmin gallery this spring spurred an artistic epiphany, David Wiseman returned to drawing.

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